Roger Moore

No characters really pop and there’s little room for pathos, humor or anything else.

The film itself is more recognizably human and considered, while lacking any comic edge or sense that the romantic stakes are high.

Coogler introduces themes, agendas and histories in collision with this film. But once “Sinners” transitions from Black history at a crossroads into straight-up horror, nothing much is made of the Big Ideas in this ungainly mashup of “Ma Rainey’s Black Bottom,” “Crossroads” and “From Dust Til Dawn.”

There’s ambition and a dollop of intellectual heft to the indie dramedy Daddy. Even if it misplaces characters, shortchanges its goals and fails to deliver much in the way of a satisfying conclusion, you can appreciate the attempt and the effort involved.